Entertainment Weekly's Scores

For 6,188 reviews, this publication has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 There Will Be Blood
Lowest review score: 0 What the #$*! Do We (K)now!?
Score distribution:
6188 movie reviews
  1. Blue's raw portrayal of infatuation and heartbreak is both devastating and sublime. It's unforgettable.
  2. For all its brio, the film is overcautious about pointing fingers.
  3. There's piercing sadness, and fury, too, in this Everyman's isolation, and Cantet is singularly skilled at evoking the universal condition of such tragic ordinariness.
    • 88 Metascore
    • 75 Critic Score
    Never quite connects with us emotionally, yet the more it shades off into the gonzo-poetic, the more fun it becomes.
  4. Munro's stark lily needed none of this gilding.
  5. Mafioso does more than cast its fascinating shadow over "The Godfather." It captures, in a stark yet haunting way, the indelible fact that no man is born a mobster.
  6. There’s something earthy and elemental in this tale that was missing in Blue, something quirky and (measured by Kieslowskian standards) energetic.
  7. A delightful, perceptive, funny, detail-perfect fable.
  8. Lest the audience miss a cue, Hooper and soundtrack composer Alexandre Desplat count on the ringing grandeur of Beethoven's Seventh Symphony - the famous second movement, no less - to amp the emotions.
  9. Hell or High Water isn’t a flashy movie, but it has an undeniably resonant sense of small-scale justice, not to mention an authentic sense of place that will remind you of other Texas-set masterpieces like John Sayles’ "Lone Star" and the Coen brothers’ "No Country for Old Men." See it, and then spread the word.
  10. Up
    A lovely, thoughtful, and yes, uplifting adventure.
  11. Working from a superb script by Paul Attanasio, Redford has caught the way a show like Twenty-One offered a carny-barker version of the American Dream.
  12. It’s obvious that Kaufman has always seen the world differently from the rest of us. And even if it takes a little time to settle into Anomalisa’s disorienting, herky-jerky groove, Kaufman ends up bewitching us with his fresh take on the oldest and most hackneyed of cinematic themes: boy meets girl…and anxiety ensues.
  13. Copy celebrates a brilliant storyteller and her lacerating wit...but also recalls a woman who could be bossy, presumptuous, and sometimes mean. To the end, though, she was adored.
  14. It's a great, IQ-flattering entertainment both wonderful and wise.
  15. [Coogler] infuses nearly every frame with soul and style, and makes the radical case that a comic-book movie can actually have something meaningful — beyond boom or kapow or America — to say. In that context, Panther’s nuanced celebration of pride and identity and personal responsibility doesn’t just feel like a fresh direction for the genre, it’s the movie’s own true superpower.
  16. Birdman is a scalpel-sharp dissection of Hollywood, Broadway, and fame in the 21st century. But more than that, it's a testament to Keaton's enduring charisma and power as an actor. He soars.
  17. Yagira's performance is so extraordinary, it won him the best actor prize at the 2004 Cannes film festival.
  18. Leigh gives you such a strong sense of his characters as fluky individuals that even his most lackadaisical scenes are alive with possibility. What holds Life Is Sweet together is his perception — at once funny and wise — that people, when they change at all, do so in small, nearly imperceptible ways, and that that may be enough.
  19. What it comes down to is superbly staged battle scenes and moral alliances forged in earnest yet purged of the wit and dynamic, bristly ego that define true on-screen personality.
  20. It makes sense that L'Enfant has been hailed as a masterpiece, since a masterpiece is what it's trying, in every unvarnished frame, to be. If you wandered unknowingly into the film, however, you would see this: a stark, fascinating, and naggingly detached character study.
  21. A graceful, unsentimental, well-made movie.
  22. Facing a diagnosis of Alzheimer's, the older woman enrolls in a poetry class, desperate to find the words to describe beauty before language fails her. She does even better: She herself becomes a kind of poem about what it means to really see the world.
  23. The richest and most satisfying romantic movie of the year. It's really about two great loves at once -- the love of life and of art -- and the way that Shakespeare, like no writer before him, transformed the one into the other.
    • 87 Metascore
    • 100 Critic Score
    It boasts a more consistent tone, better special effects (such as villains throwing buses around like paper planes), and even an affecting love story.
  24. Naples-born Servillo is a national star, famed as a theater, opera, and film director as well as an actor. And he's got the face of a mensch (or a Madoff) -- which makes his embodiment of criminal banality all the more identifiable, as well as horrifying.
  25. So superb, so graceful, so strong -- another beauty in this year of good documentaries -- that I do believe it will influence career choices, sending inspired viewers to study pedagogy, or cinematography.
  26. Ronan, who’s made a habit of giving us sparkling turns since she was a kid in 2007’s Atonement, delivers a dazzlingly mature performance.
  27. Part of what makes One False Move so engrossing is the way the characters keep revealing new, darker sides. The movie is about hidden American links — between city and country, cop and criminal, and the black and white subcultures of the rural South.
    • 87 Metascore
    • 100 Critic Score
    The Bridge on the River Kwai is that rare film about something as seemingly black-and-white as World War II that is colored entirely in shades of gray, and the better for it.

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